U97| Gil Sansón | Voces del vacío resonante
Voces del vacío resonante_excerpt1
Voces del vacío resonante_excerpt2
format : glass mastered CD ltd to 100 hand numbered copies/Digital
Regular edition of 75 copies packaged in clear vinyl sleeve with folded insert + an additional art card both on 350gr satin paper
Special edition of 25 copies packaged in thick pure white cardboard digisleeve with frame.
it holds a set of 2 double-sided art cards with a different artwork from the regular edition on 350gr satin paper+a set of 2 square photos on matt Fujicolor Crystal Archive Paper Supreme, and a unique printed fragment of a larger artwork made by Gil Sansón himself.
Inner sleeve features a strip of paper mentioning edition number, artist’s name +title.
+ more details forthcoming…
release year :2026
length : 44’24
track : Voces del vacío resonante
status : out on Friday, August 7 – pls note the LATE SHIPPING on or around Friday, August 28 (TBC)
>>>pre-order via Paypal : chalkdc@unfathomless.net
Regular edition
(Belgium) : 14 € (inc.postage)
(Europe) : 15 € (inc.postage)
(World) : 16 € (inc.postage)
Special ultra ltd edition
(Belgium) :18 € (inc.postage)
(Europe) :19 € (inc.postage)
(World) :20 € (inc.postage)
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: info :
“The material suggests the idea. The idea emphasizes certain aspects of the material, and these could be physical and concrete, fully subjective, or something in between. For many years I’ve been drawn to the sound of urban and suburban spaces, and in particular I’ve been able to explore, in an empirical and non systematic way, the sonic environment of my street and neighborhood, with focus on the quiet moments in which one can almost hear the place breathing. Over time my ears can feel something akin a root frequency for my street, with every sound event having some sort of intervallic relationship to this perceived tone, and then the idea is quite simple: how to naturally filter these frequencies and make them not only audible but the center of the work.
For this work i used the resonance of chambers of all sizes, from teapots, cardboard tubes, the sound of air inside violin, viola and cello (recorded by Stefan Thut) and large vases to very large spaces like the atrium of the Metropolitan Museum of Art and Grand Central Station in NYC (recorded at my request by my significant other, Annmarie Mattioli).
If my previous Unfathomless album dealt with memory and memory of places, this one focuses exclusively on the material and the inherent musicality of the material in contrast to any attempt at any sort of narrative, knowing that the sound itself can elicit any number of responses depending on the listener.”
(Gil Sansón, May 2026)
: reviews :
~ later on
Unfathomless 